The Influence of the Changes of China's Aesthetic Culture on Architectural Forms (Tang, Song, Yuan, Ming and Qing Dynasties)

Dougong was basically mature in the prosperous Tang Dynasty. By the time of the French style of architecture in Song Dynasty, we can see that buckets are always in structure, private energy and artistic modeling.

Has reached the point of perfection, mainly in:

1? The supporting and cantilever functions of the bucket arch are improved. In the arch modeling of French architecture, there are also five jumps and eight shops.

As a bucket arch, it can be said that the cantilever function of the bucket arch has been fully exerted. Ang also gave full play to its leverage function. Correction/wholeness

The stress relationship of each bucket arch is very clear, showing clear structural logic.

2? Formed a standardized bucket arch series. In the "architectural style", the bucket arch has a complete set of stereotypes and four shops.

There are different rules for making eight kinds of auxiliary materials, from first-class materials to eighth-class materials with different specifications, single arch and double arch, scheming and stealing hearts.

Make a difference.

3? A horizontal frame connected as a whole. For example, insert the head and tail of breast milk into the stigma and spread it, and cut it into the second vault.

In particular, the palace-style frame provides the best place for the bucket arch, which makes the bucket arch give full play to its structural function.

(C) the bucket arch in Qing Dynasty

1? Zouxiang decoration

Mr. Liang Sicheng said, "From the structural point of view, the Qing-style bucket arch only has a stigma and a horn, which can barely be called a structural part.

The body balance department is just a pure ornament. "

In the Ming and Qing Dynasties, the bucket arches obviously tended to be decorative, from the unity of structural function and aesthetic function to the weakening of structural function or even weakening.

To purely decorative components without structural functions. The size of these arches has been greatly reduced, and they are all designed and manufactured. this

In this way, the cornice bucket arch lost its original image of vigor, spaciousness and structural vitality and became a small circle under the eaves.

Set up complicated decorative ribbons.

2? Towards a high degree of stylization

In the engineering practice of industrial and commercial offices, of the 74 volumes, 13 is used to specify the bucket arch in detail.

In addition, it also uses six volumes to describe the materials and employment of wood, oil and petroleum. Basic types of bucket arches

, practice rules, bucket mouth standards, exhibition points, component specifications, tenon usage and so on have detailed and specific provisions.

3? Towards falsification

Due to the decline of structural function, some parts of the bucket arch have become fakes, with Ang as the most typical one. Tang and song dynasties

Cheyenne is a real lever bearing member, and its cantilever force is stronger than that of South China University of Technology. In the Ming and Qing Dynasties, the bucket arch had cantilever function.

Great changes have taken place in the economic recession. First, it has changed from true pride to false pride, and second, it has changed from true pride to the diagonal of the golden bucket arch.

With the simplification of the wooden frame itself, it has reached the point of getting rid of the bucket arch, and the structural vitality of the bucket arch is coming to an end.

However, under the control of the concept of "talking without doing", the struggle that loses structural vitality will not disappear, but will.

It is more complicated and rigid, exposing the conservatism seriously confined to the old system.

China architecture is basically a closed and independent system from the pre-Qin period to the middle of19th century, and its style has not changed much for more than 2,000 years, which is generally called China ancient architecture. /kloc-After the mid-9th century, with the change of social nature, a large number of foreign buildings, especially western architectural styles, have been introduced, and China's architecture has had more contact and exchanges with the world's architecture, and its architectural style has undergone tremendous changes, which is generally called modern architecture in China. This paper mainly studies the ancient architecture in China.

The ancient architecture in China has matured in feudal society. It is a unique system with the longest history, the widest distribution area and the most obvious style. It is mainly composed of wooden buildings of the Han nationality and also includes excellent buildings of various ethnic minorities. China's ancient architecture has a direct influence on Japanese, Korean and Vietnamese ancient architecture, and it also has an influence on Europe after17th century.

Compared with European ancient architectural art, the aesthetic value and political and ethical value of China ancient architecture are highly unified; Rooted in profound traditional culture, it shows a distinct humanistic spirit; Holiness and comprehensiveness. The specific performance is as follows:

(A) pay attention to the overall management of the environment

Since the Spring and Autumn Period and the Warring States Period, China has had the concept of overall management of the built environment. Although all the planning systems in "Zhou Li" about wilderness, metropolis, customs, townships, cities, mountains and temples may not be fully realized, it at least shows that there was a large-scale regional planning idea of systematic planning. The riding pipe advocates that "every country is the capital, not at the foot of the mountain, but above Guang Chuan", which shows that environmental relations must be considered in urban site selection. China's theory of geomantic omen originated very early. Apart from wearing the cloak of superstition, it mostly emphasized the relationship between environment and architecture. Ancient cities paid attention to the unified management of urban ontology and surrounding environment. Xianyang, Qin is a super-scale urban environment, starting from Sakan in the north, running through the Weihe River in the middle and reaching Nanshan in the south. At the peak, it is 200-300 miles from east to west. Famous capitals such as Chang 'an (now Xi 'an, Shaanxi), Luoyang (Northern Wei Dynasty), Jiankang (now Nanjing, Jiangsu) and Beijing (Ming and Qing Dynasties) have their business scope far beyond the city walls. Even ordinary governments, states and counties integrate suburbs into the overall urban environment. Important scenic spots, such as five towns in wuyue, Buddhism and Taoism, suburban gardens, etc. , also put environmental management in the first place; Mausoleum area pays more attention to geomantic geography. Most of the buildings in these places rely on the environment to show their artistic charm.

(2) Single image grouping sequence

In ancient China, the form of single buildings was relatively simple, and most of them were stereotyped. Isolated single buildings do not constitute a complete artistic image, and the artistic effect of buildings mainly depends on the group sequence. A temple, as a foil in the sequence, will not be too big, and its image may be relatively dull, but if it is the main body, it may be very tall. For example, there are not many single building styles in the Forbidden City in Beijing in the Ming and Qing Dynasties, but through the transformation of different spatial sequences, each single building shows its own independent personality as a whole.

(C) the unity of structural technology and artistic image

The wood structure system of ancient buildings in China has strong adaptability. This system consists of four columns, two beams and two beams, which form a basic framework called a compartment. Compartments can be connected left and right, front and back, overlapped up and down, combined at will, or modified into octagon, hexagon, circle, fan or other shapes. There are two kinds of roof frames: lifting beam type and bucket type. In either case, the roof can be made into an arc shape without changing the frame system, and the cornices can be made up at the corners of the house, and the styles such as double eaves, hooks, interspersed and hanging can also be made. The artistic modeling of single building mainly depends on the flexible collocation of rooms and multi-style arc roofs. In addition, the components of the wood structure are convenient for carving and painting, so as to enhance the artistic expression of the building. Therefore, the modeling beauty of ancient buildings in China is also manifested as structural beauty to a great extent.

Standardization, diversification and unity

The buildings in China are mainly made of wood. In order to facilitate the manufacture, installation, work estimation and material calculation of components, it is inevitable to standardize components, which also promotes the modularization of design. As early as the Spring and Autumn Period, standardization and modularization sprouted in Kao Gong Ji, and matured in the Tang Dynasty at the latest. By the third year of Song Yuanming (1 100), the "architectural style" was completely standardized, and the "Regulations of the Ministry of Industry" promulgated in the twelfth year of Qing Yongzheng (1734) was further simplified. The standardization of architecture promotes the unity of architectural style and ensures that every building can reach a certain artistic level. Standardization does not limit the composition of the sequence too much, so the standardization of single buildings and the diversification of group sequences can go hand in hand. As a space art, it is obviously a mature and progressive phenomenon. The single buildings in ancient China seem to have changed a little, but the group combinations are varied, because of the high unity of standardization and diversification.

(5) Poetic natural gardens

China Garden is an outstanding achievement of ancient architecture in China and an important typical garden in the world. The aesthetic taste of people with cultural literacy, using the method of building space composition, typifies natural beauty and turns it into garden beauty. The interest contained in it is poetic; The spatial composition technique adopted is free, flexible and smooth sequence design. China gardens pay attention to "skillful borrowing and skillful body" and attach importance to the exquisite interpretation of scenery, so as to organize rich viewing pictures. At the same time, it also simulates natural mountains and rivers, creating special skills of overlapping mountains and managing water. Whether mountains and rivers are connected or not, poetry and painting can be more profound and interesting.

(six) pay attention to the performance of the building's character and symbolic significance.

The political and ethical contents of ancient architecture in China require it to show distinctive personality and specific symbolic significance, so many methods have been adopted. The most important thing is to use the environment to render different emotional appeal and atmosphere, so that people can get a variety of aesthetic feelings; Secondly, different building grades include volume, color, style and decoration. , is stipulated to express the social system and architectural content; At the same time, we also try our best to use many figurative auxiliary arts, even the words of plaques and inscriptions, to reveal and explain the character and content of the building. Important buildings, such as palaces, temples and temples, have specific symbolic themes. For example, Qin Shihuang built Xianyang, the palace symbolized Wei Zi, Weishui symbolized Tianhan, and Shanglinyuan dug a pond symbolized Penglai in the East China Sea. In Qing Dynasty, Kangxi and Qianlong built Yuanmingyuan, Summer Resort and Eight Temples outside Chengde to simulate important national buildings and places of interest, symbolizing unity in the city. There are five rooms and twelve halls in the hall, symbolizing everything in the world. The composition of some Lama temples symbolizes the Buddhist world such as Mount Sumi.

Architectural Art The architectural art of China is a plastic art with the longest history, the widest geographical distribution and a special style and system in the world architectural history. On the cultural level, China's ancient architectural art shows three characteristics: first, it pays attention to the high unity of aesthetics and political ethics; Secondly, it has a distinctive humanistic character and is a concentrated display of China's traditional cultural spirit; Third, pay attention to the overall spatial image in the change. Its formal characteristics are mainly as follows: ① A rich spatial sequence is formed in the form of group combination, such as altar and temple buildings spread along the horizontal axis; Residential buildings and palace buildings with vertical axis as the main axis and horizontal axis as the secondary axis; Landscape architecture with zigzag axis. No matter which way it unfolds, it forms a cadence, orderly, climax and ending spatial order. (2) There are certain norms and procedures for the modeling of single buildings, such as halls and pavilions, which are all composed of abutment, roof and roof, and there is a certain proportion between each part, especially in the Qing Dynasty, this standardization reached its extreme. (3) The huge roof formed by the combination of wood structures and beams, as well as the soft curve of the top of the slope, the straight roof and the upturned cornices, make the roof the most remarkable form feature of China architecture. ④ Indoor space is flexible and changeable. Commonly used wooden boards, fans, curtains, screens, antique shelves, etc. are divided into changeable spaces of different sizes, resulting in circuitous and implicit space images. ⑤ Pay attention to the color of building components and the performance of decorative paintings, so as to mark the difference between grades and functions. China architectural art can be divided into four stages in chronological order: Qin and Han Dynasties, Sui and Tang Dynasties, Ming and Qing Dynasties and modern times. (1) Qin and Han dynasties. As early as the Shang and Zhou Dynasties, the main features of China architecture, such as quadrangle form, symmetrical layout, wooden beam frame structure, single shape and wide roof, were initially formed. However, due to the separatist regime, the north and the south were different. Sculpture and painting existed in Qin and Han dynasties, with neat layout, clear ethics, hierarchy and order, showing vigorous and simple style characteristics. ② Sui and Tang Dynasties. At the end of the Han Dynasty, during the Southern and Northern Dynasties, with the introduction and prevalence of Buddhism, the great integration of the North and South nationalities, the ideological interest of literati living in seclusion in the mountains and the appearance of landscape poems and landscape paintings, the architectural art in the Southern and Northern Dynasties added a lot of romantic feelings besides the traditional rational spirit. By the end of the Tang Dynasty, the prosperous Tang style was finally formed, which was intertwined with rationality and romance. Magnificent and regular capital, majestic and stretching palaces and temples, huge and diverse temples and grottoes, with rich shapes and luxurious decoration, present broad and beautiful style characteristics. ③ Ming and Qing dynasties. After the development of urban economy and local culture in the Five Dynasties and the Song Dynasty, and even the further blending of Mongolian, Tibetan and Arabic cultures, China's ancient architectural art reached its most mature stage in the Qing Dynasty. The specifications of urban streets and lanes are square, and the buildings of palaces and tombs are the same, but the shapes are increasing and the methods are diverse. Horticultural art is flourishing like never before. Its overall style is graceful, elegant, rigorous and clear. ④ Modern stage. With the disintegration of feudal system, the spread of western culture to the east, the development of modern social science and technology, and the changes of modern people's aesthetic taste and cultural psychology, great changes have taken place in China architecture in the 20th century. In traditional garden buildings, the proportion of buildings has increased, the space has become more tortuous and changeable, the decoration has become more complicated and beautiful, and a large number of public buildings combining Chinese and Western styles have emerged, paying more attention to the unity of practical functions and aesthetic functions. After the 1980s, the overall layout of the city became more open, changed more rapidly and had more diverse styles. It will be an important subject for modern architecture in China to find the organic combination of the times style and national style.